Baroque Music For Classical Guitar

This collection of arrangements for solo guitar is an ideal introduction to Scarlatti's music. The ten varied pieces were carefully chosen for their musical character and technical suitability at intermediate and advanced levels. Core repertoire for Grades 68 of ABRSM's Guitar syllabus. Includes idiomatic adaptations, with original ornamentation.

1. March - George Frederick Handel 2. Sonata in A Minor - John Christopher Pepusch 3. A Ground in Gamut - Henry Purcell 4. An Air - George Frederick Handel 5. Fughetta - George Frederick Handel 6. Menuet - Johann Heinrich Buttsted 7. Sonata in D Minor - Domenico Scarlatti 8. Sonata in A Major - Domenico Scarlatti 9. Prelude and Fugue No. 1 from the Well Tempered Klavier - Johann Sebastian Bach This anthology is a collection of solo guitar transcriptions ranging from intermediate to concert level. Many of the pieces are by some of the best known composers of the baroque era like George Frederick Handel and Johann Sebastian Bach. There are also some unique gems by lesser known composers that merit playing because of their very musical and memorable nature. Among the advanced pieces are Bach's Prelude and Fugue No. 1 from the Well Tempered Clavier and an exquisite Air by Handel. Though very different these two pieces in particular exemplifying the sophistication of baroque contrapuntal writing. The collection also includes charming examples of the Minuet, Sonata, Theme and Variations forms of the baroque era by Scarlatti, Purcell, Buttsted and Pepusch. This is a unique collection to savor over many years, full of pieces that will delight and challenge any guitarist.

As we go further into the 21st century, more and more classical guitarists wish to play baroque and galant music in a manner reflecting stylistic understanding of those eras. We will never know precisely how the music was played then, but can come closer to understanding the priorities of the time. The common denominator of music in our chosen period is rhetorical expression. Historical Performance Practice, by bringing us closer to the essence of the music, gives us not only more understanding but - above all - more possibilities for moving our listeners. While striving to play in a stylistic manner, we must never forget the goal of performance: to communicate passions and elevate the lives of our listeners. It is with this in mind that the present book has been written. Author: Peter Croton, early music performer, and teacher at the world-renowned Schola Cantorum Basiliensis as well as at the Conservatories of Basel and Bern. Cover art and design: Johanna Croton Paul Galbraith writes:"This handbook is a distinguished addition to the ever-expanding body of instructional literature for guitarists. In effect, we're treated here to a guided tour through a wealth of selected historical quotations and information, under the experienced supervision of Peter Croton, who offers his considered opinion at every step. A highly stimulating, provocative and educational read!" Pablo Márquez writes:"The great Hungarian pianist György Sebök used to say that 'the first step to freedom is to make a choice. When you have only one option then you have no choice, when you have two options then you have a dilemma, when you have three or more options then you start having a choice.' This new book by Peter Croton is a wonderful tool for guitarists to become freer in negotiating Early Music's vast territory." João Carlos Victor writes:"The popularity of baroque music among guitarists today raises the question: how can we convey the deep meaning of this music to 21st century audiences? Peter Croton's book is an extremely helpful guide. He not only discusses historical sources, but also draws upon his experience as performer, researcher and teacher. I had the privilege of studying with him for two years, thus personally experiencing his incredible knowledge and true commitment to this music."

(Music Sales America). The pieces and etudes you need to develop your first classical guitar repertoire. This book and CD package contains delightful repertory of pieces in both standard notation and tab for the beginning or intermediate player. The selections are drawn from all periods of classical guitar literature and have been newly arranged and edited by Jerry Willard. The CD includes full-length performances. Learn pieces by Sor, Carulli, Dowland, Mozart, Tarrega, and many more.

James Tyler offers a practical manual to aid guitar players and lutenists in transitioning from modern stringed instruments to the baroque guitar. He begins with the physical aspects of the instrument, addressing tuning and stringing arrangements and technique before considering the fundamentals of baroque guitar tablature. In the second part of the book Tyler provides an anthology of representative works from the repertoire. Each piece is introduced with an explanation of the idiosyncrasies of the particular manuscript or source and information regarding any performance practice issues related to the piece itself -- represented in both tablature and staff notation. Tyler's thorough yet practical approach facilitates access to this complex body of work.

Following on from James Tyler's The Early Guitar: A History and Handbook(OUP 1980) tthis collaboration with Paul Sparks (their previous book for OUP, The Early Mandolin, appeared in 1989), presents new ideas and research on the history and development of the guitar and its music from the Renaissance to the dawn of the Classical era. Tyler's systematic study of the two main guitar types found between about 1550 and 1750 focuses principally on what the sources of the music (published and manuscript) and the writings of contemporary theorists reveal about the nature of the instruments and their roles in the music making of the period. The annotated lists of primary sources, previously published in The Early Guitar but now revised and expanded, constitute the most comprehensive bibliography of Baroque guitar music to date. His appendices of performance practice information should also prove indispensable to performers and scholars alike. Paul Sparks also breaks new ground, offering an extensive study of a period in the guitar's history—notably c.1759-c.1800—which the standard histories usually dismiss in a few short paragraphs. Far from being a dormant instrument at this time, the guitar is shown to have been central to music-making in France, Italy, the Iberian Peninsula, and South America. Sparks provides a wealth of information about players, composers, instruments, and surviving compositions from this neglected but important period, and he examines how the five-course guitar gradually gave way to the six-string instrument, a process that occurred in very different ways (and at different times) in France, Italy, Spain, Germany, and Britain.

The Baroque Period in music history is generally conceded to have begun circa the year 1600. Music by composers of this era contributed to the development of clearly defined types of music, such as the suite, the sonata, pieces based on a theme followed by a set of variations, early opera, the concerto, cantata, and oratorio. Some of the characteristics of Baroque music in general are: contrapuntal style, ornamentation, four measure phrases, contrasting effects and dominant to tonic chord structure. Most of the music in this book was originally written for the harpsichord by some of the greatest composers of the time. Bach, Handel, Telemann and Purcell, each of whom is represented, were four stalwart pillars of this glorious era which ended with the death of Bach and Handel.

Introduces the beginning and intermediate guitarist to the Baroque period of music, including pieces by Bach, Handel, and Purcell.